Glen Pearce reacts to one theatre’s decision to grant press tickets only to critics who generate it enough website traffic.
The leader of one of England’s National Portfolio Organisations speaks out about transparency, whistle-blowing, the curse of arts buildings, and why artists feel disenfranchised from the arts funding system.
The arts and the other creative industries may not always make comfortable bedfellows, but there are enough good reasons for them to sleep together, says Liz Hill.
Liz Hill reflects on a Warwick Commission debate which revealed the enthusiasm of the creative industries for better creative and cultural education in schools – and the barriers to making it happen.
Liz Hill concludes that Arts Council England’s ‘This England’ report is based on a carefully constructed analysis designed to disguise a London-centric funding strategy and preserve the status quo.
In an era of cuts, what choices would you make? Three arts professionals make the case for their priorities.
If the arts are to be relevant to people’s lives, the creative experience and access to subsidy must be available to more than the privileged, and perceived barriers between professional and nonprofessional artists must be broken down, says Vikki Heywood in a prologue to her speech at the No Boundaries conference.
Rich Hadley believes that cultural organisations must lose their "remote, elitist, rarified, out of touch and unyielding" image.
Arts Council England's update of its 10-year 'strategic framework' makes for sober and serious reading. But while there are no dramatic changes in its ambitions and priorities, Mark Robinson finds a worrying lack of solutions for cash-strapped artists and no recognition of the regional imbalance in arts funding.
The arts sector is missing the mark in making its case to the wider public, says Liz Hill. In her session at the Shift Happens conference, AP threw down the gauntlet and challenged the sector to do better.
Marcus Romer offers a suggestion to anyone who wants to find out how they will be working three years from now.
Kevin Smith asks whether we’re comfortable with companies like BP being associated with some of the most prestigious arts institutions in the country.
Ivan Wadeson sees patience and planning as necessary prerequisites to campaigning for public support.
Eleonora Belfiore shares her thoughts on the public value of culture.
Dan Eastmond explains why he walked out of the What Next? conference.